The Gospel Ship Baptist Hymns & White Spirituals from the Southern

Total Page:16

File Type:pdf, Size:1020Kb

The Gospel Ship Baptist Hymns & White Spirituals from the Southern THE GOSPEL SHIP New World Records 80294 The Gospel Ship Baptist Hymns & White Spirituals from the Southern Mountains by Alan Lomax My years of field work in this country convince me that at least half our English-language musical heritage was religious. Indeed, until the rise of the modern entertainment industry most organized musical activity in most American communities centered on the church--for example, the backwoods singing schools discussed below (also see New World Records 80205, White Spirituals from the Sacred Harp) were usually church-sponsored. Today, as modernization wipes out the settings in which secular folk songs were created, the church continues to provide theaters in which new song styles arise to meet the needs of changing forms of worship. The religious revolution that began in the Reformation has continued in wave after wave of revivals, some large, some small, but most expressing the determination of some group to have the kind of music in church that they preferred and in which they could participate. This folk process has enriched the repertory of Protestantism with the patterns of many subcultures and many periods. Sometimes the people held on to old forms, like lining hymns (in which the preacher sings the first line and the congregation follows; see Track etc.) or spirituals, which the whole church sings, preferring them to a fancier program by the choir, to which the congregation passively listens. Bringing choirs and organs and musical directors into the southern folk church silenced the congregation and the spiritual in the once folky Baptist and Methodist churches, so that the folk moved out and founded the song-heavy sects of the Holiness movement. Use of instruments likewise expressed traditional preferences. Strict old-fashioned groups, like the Primitive Baptists, simply banned all instruments as tools of the devil, and this conservatism fostered the preservation of the older songs with scales and with ornamentation. The fiddle and the banjo were called "the devil's stalking horses," the square dancers and jollifications where they were played were out of bounds for the straitlaced, and church members who persisted in playing or following this music could be brought before the congregation and put out of church. Until very recently (perhaps the Fifties), therefore, the piano and the harmonium were seldom heard in most folk churches. Stringed instruments, however, met a friendlier reception among white folk religionists: the guitar, the banjo, and then little combinations (first in "old-timey," then in bluegrass style) appeared in the evangelical churches and on recordings. Groups like the Carter family commonly sang sacred songs on their radio and recording dates (see New World Records NW 287, Country Music: South and West, Side One, Band 5), and the serious convert could have the string music he enjoyed, without feeling a threat to his religion. Here and there, particularly in the black storefront churches, all sorts of instruments were brought in to increase the pleasure and excitement of the meetings. String groups, drums, trumpets, trombones, then, validated by general middle-class use, organs, and, recently, electrified instruments--until almost any combo may turn up anywhere in the now populous Holiness and Sanctified churches. Along with the instruments have come the tunes and sounds of secular music, including ragtime, jazz, blues, swing, and now rock, all permitted, according to the preference of the congregation, so long as the texts of the songs remained sacred. 1 All along, the evangelical hymnodists, like the Methodist Charles Wesley, have robbed the devil of his best tunes. In his brief and excellent history of Southern white spirituals (Jackson, 1953, Preface; see Bibliography), John Powell tells how St. Aldhem, in the time of King Alfred, would disguise himself as a street singer, attract a crowd with worldly ditties, then, by gradually introducing words from the Scriptures, bring his hearers to consider their salvation. Among his other reforms, Luther revised German hymnody, writing in the vernacular and using German folk songs and carols for his melodic material. A sixteenth-century example cited by Powell is the love song "John Come Kiss Me Now," transformed so that the Lord, rather than a woman, calls on John (man) in these lines: My shepherds call, my preachers cry, John, come kiss me now, John, come kiss me by and by, And make no mair ado. Even the Puritans collected tunes for their hymns in taverns. Shakespeare refers to this in The Winter's Tale, where he speaks of a Puritan who "sings Psalms to hornepipes." George Pullen Jackson found the shape-note hymnbooks of the American frontier packed with worldly ballad tunes such as "Barbara Allen," "Lord Lovell," and "Go Tell Aunt Rhody" (Jackson, 1953). Often the parodies were without disguise. The Scottish Rev. William McDonald turned the inviting Will you go, lassie, go to the braes of Balquidder, Where the blackberries grow in the bonnie blooming heather into the hymn called "The Sinner's Invitation": Sinner go, will you go, to the highlands of heaven, Where the storms never blow and the long summer's given. An even more striking religious parody of a secular piece occurs in the song "John Adkin's Farewell" (Jackson, 1953), where the favorite drinking song of the frontier (known as "Clinch Mountain," "Rye Whiskey," etc.) is used to mount a drunkard's confessional: Poor drunkards, poor drunkards, take warning to me, The fruits of transgression behold now I see: My soul is tormented, my body confined, My friends and my children, left weeping behind. Because of the lack of documents, the earliest parallels Jackson can trace are folk songs of the sixteenth to the eighteenth centuries. He assumes--properly, I feel--that the older, unidentified tunes are derived from folk sources for which we have no record. The present collection begins with representatives of one of the earliest Protestant styles--the free- rhythmed antiphony of the Primitive Baptist hymns. Here a leader intones to a set tune the words of the first line of a psalm, leads the congregation through this line in unison, intones the text of the next line, leads the congregation through that text, and so on till the end of the psalm. Some authorities believe that this practice originated in England in the early seventeenth century (Foote; 2 see Bibliography). Moreover, it has been frequently pointed out that this was a very useful method on the American frontier, where hymnbooks were scarce and few could read them. The same condition, of course, has pertained since the foundation of the Christian church. More interesting are the close parallels between this "lining-out style" and the traditional antiphony of the Catholic mass. Both are free in rhythm, often highly embellished, responsorial, and heavily laden with an arcane text given out by a leader. In this fashion the maximum of religious doctrine--long and complex texts--can be sung by large, illiterate congregations, and this potential was realized when Calvin had the psalms (which had formerly been sung in Latin) translated into the vulgate so that they could be understood by the congregations who sang them. The antiquity of lining out is further attested by the fact that it is still characteristic of the most conservative of Protestant groups--old- fashioned Presbyterian congregations in Calvinist Scotland and the German Amish--who sing exclusively in this manner. Indeed, Amish singing is so "drawn out," so heavily ornamented syllable by syllable with slides, melismata, and graces, that any line can take almost a minute to sing. The complexity of text, the rhythmic freedom, and the variation of ornament from singer to singer in this lined-out style create striking and often rich heterophony. In a world survey of song styles I have found that this style is most frequent in the ritual music of the Mediterranean, the Middle East, and the Orient and much less common elsewhere. In this kind of heterophony the choir trails the leader, picking up the text and tune just a step behind him. Thus I take the lining hymn to be a survival of the mannerisms of Eastern ritual in British and American folk music. Just as the priests of ages past attempted to lead their followers through precise repetitions of the sacred litanies, so the modern Primitive Baptist song leader, turning to the pages of Elder Thomas's Choir Selection of Hymns (1877), brings his fellow worshipers line by line through some elaborately phrased doctrine- laden text by Calvin or by Isaac Watts. The result is, on the one hand, extreme conservatism--the texts are unchanged and the melodies are stable--but, because the singers pull away and constantly return to the central melodic current in deeply felt ornamental variations, great emotional tension is created, like that of a surging crowd pouring down a narrow street or of an angelic throng, in some old canvas, mounting toward heaven. It is easy to be caught up in this feeling. The singers often weep, and even the visitor finds it hard to hold back his tears. The African-American form of the lining-out hymn, enriched by stirring harmony, is sometimes all that remains of folk music in the black service of today, and because it is the favorite music of many of the older heads of the church, it is mistakenly called the earliest black spiritual music. The lining-hymn form is one solution to the problem, introduced by Protestant musical reformers, of how to achieve acceptable congregational renditions of religious songs with texts sufficiently laden with metaphors and doctrine to stir the intellect. In Middle Europe, with its cultural bent for group singing, this was not a prime difficulty, as it was in most of Western Europe, where group singing (like the culture) is not very unified unless it is performed, after considerable practice, by the choir.
Loading...
Loading...
Loading...
Loading...
Loading...

18 pages remaining, click to load more.

Recommended publications
  • I Ll Ino I University of Illinois at Urbana-Champaign
    H I LL INO I UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scale Digitization Project, 2007. 4.- ATA I II lolume 4, Number 1 (whole issue 16) kI_- October 7, 1963 HOBART SMITH AT U. OF I. Hobart Smith, a traditional fiddler, tions of us Smiths kindly took to music. )anjo-picker, guitarist, and singer Always picking on some instrument or from Saltville, Virgina, will appear in singing some ditty, that was the Smith Altgeld Hall, October 11, 8 PM, in the way. If we managed to marry somebody 3lub's first membership concert of the who didn't care for it, why pretty soon new school year. they'd dive up and get a divorce and leave, and then we'd marry somebody else Smith's repertoire, some of which is who did love music. That way it just available on the Atlantic "Southern kept a-runnin' through our family." Folk Heritage Series" recorded by Alan Lomax, includes dazzling fiddle hoe- "In the first generations of my family owns and breakdowns, guitar blues, the men were all fiddlers and the girls gospel songs, old ballads and rippling, all good singers. Drop on down and you rhythmic banjo pieces that sound equal- begin to get a banjo player or two in the Ly good as lyric songs or as dance crowd. Then they was mostly banjo pick- iccompaniment. ers, like my daddy, King Smith who learnt me to play. I took to it so natural Among his famous pieces are "John that when I come to the house, Mama would Brown", a lively dance tune for fiddle tell old King to put by his banjo and Ln modal tuning, "Bangin' Breakdown", let somebody handle it who could." a strangely beautiful rhythm exercise ln Afro-American banjo music, and "See Many Club members will remember Fhat My Grave Is Kept Clean", .a moving Hobart's appearance earlier this year at and powerful song that flows directly the University of Chicago Folk Festival.
    [Show full text]
  • Jerry Garcia Song Book – Ver
    JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106.
    [Show full text]
  • The Alan Lomax Photographs and the Music of Williamsburg (1959-1960)
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2010 The Alan Lomax Photographs and the Music of Williamsburg (1959-1960) Peggy Finley Aarlien College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the Music Commons Recommended Citation Aarlien, Peggy Finley, "The Alan Lomax Photographs and the Music of Williamsburg (1959-1960)" (2010). Dissertations, Theses, and Masters Projects. Paper 1539626612. https://dx.doi.org/doi:10.21220/s2-b3tk-nh55 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact scholarworks@wm.edu. THE ALAN LOMAX PHOTOGRAPHS AND THE MUSIC OF WILLIAMSBURG (1959-1960) Peggy Finley Aarlien Niirnberg, Germany Master of Arts, Norwegian University of Sciences and Technology, 2001 Bachelor of Arts, Norwegian University of Sciences and Technology, 1995 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Masters of Arts The American Studies Program The College of William and Mary August 2010 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Masters o f Arts Approved by the Committee, June, 2010 Professor Grey Gundaker The American Studies Program / Dr^Gj/affle^MjbGovern he Anwiqfin SJMdies*4*f©gi2iiT^^ 'w / G' fgG Arthur Rrnignt j” The American Studies Program ABSTRACT PACE On July 19, 2002, folklorist Alan Lomax died at the age of 87.
    [Show full text]
  • DOCUMENT RESUME ED 310 957 SO 020 170 TITLE Folk Recordings
    DOCUMENT RESUME ED 310 957 SO 020 170 TITLE Folk Recordings Selected from the Archive of Folk Culture. INSTITUTION Library of Congress, Washington, DC. Motion Picture, Broadcasting, and Recorded Sound Div. PUB DATE 89 NOTE 59p. PUB TYPE Reference Materials Directories/Catalogs (132) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS American Indians; Audiodisks; Audiotape Cassettes; *Folk Culture; Foreign Countries; Music; *Songs IDENTIFIERS Bahamas; Black Folk Music; Brazil; *Folk Music; *Folktales; Mexico; Morocco; Puerto Rico; Venezuela ABSTRACT This catalog of sound recordings covers the broad range of folk music and folk tales in the United States, Central and South America, the Caribbean, and Morocco. Among the recordings in the catalog are recordings of Afro-Bahain religious songs from Brazil, songs and ballads of the anthracite miners (Pennsylvania), Anglo-American ballads, songs of the Sioux, songs of labor and livelihood, and animal tales told in the Gullah dialect (Georgia). A total of 83 items are offered for sale and information on current sound formats and availability is included. (PPB) Reproductions supplied by EMS are the best that can be made from the original document. SELECTED FROM THE ARCHIVE OF FOLK CULTURE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION LIBRARY OF CONGRESS WASHINGTON. D.C. 20540 U S DEPARTMENT OF EDUCATION Office of Educational Research and improvement EDUCATIONAL RESOURCES INFORMATION CENTER IERICI hisdocument has been reproduced as received from the person or organization originating it C Minor changes have been made to improve reproduction duality Pointsof view or opinions stated in thisdccu- ment do not necessarily represent officral OERI motion or policy AM.
    [Show full text]
  • The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930
    ABSTRACT HUMANITIES DECUIR, MICHAEL B.A. SOUTHERN UNIVERSITY AT NEW ORLEANS, 1987 M.A. THE UNIVERSITY OF CALIFORNIA, BERKELEY, 1989 THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 Committee Chair: Timothy Askew, Ph.D. Dissertation dated August 2018 This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du i Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme. ii THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY MICHAEL DECUIR DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA AUGUST 2018 © 2018 MICHAEL DECUIR All Rights Reserved ACKNOWLEDGEMENTS My greatest debt of gratitude goes to my first music teacher, my mother Laura.
    [Show full text]
  • Clarence Belcher Collection
    Clarence Belcher Collection The Bassett Historical Center is a non-circulating facility. Feel free to come in and listen to any selection from this music collection here at the Center. LOCAL 45s (recorded on one CD) 01 Dink Nickelston and the Virginia Buddies – (1) Henry County Blues; (2) Trying at Love Again 01 The Dixie Pals – (1) Dixie Rag; (2) Wedding Bells 01 The Dixie Pals – (1) The Model Church; (2) Pass Me Not 01 The Dixie Pals – (1) Who’ll Take Care of the Graves?; (2) Don’t Say Good-Bye If You Love Me 02 Ted Prillaman and the Virginia Ramblers – (1) There’ll Come a Time; (2) North to 81 Albums (* recorded on CD) 01 Abe Horton: Old-Time Music from Fancy Gap (vault) 01A Back Home in the Blue Ridge, County Record 723 (vault) 02* Bluegrass on Campus, Vol. 1, recorded live at Ferrum College Fiddlers Convention 02A Blue Grass Hits (Jim Eanes, The Stonemans) 03* Blue Ridge Highballers 1926 Recordings featuring Charley La Prade (vault) 04* Blue Ridge Barn Dance – Old Time Music, County Record 746 (vault) (2 copies) 04A Camp Creek Boys – Old-Time String Band (vault) 04B Charlie Poole – The Legend of, County Record 516 (vault) 04C Charlie Poole and the NC Ramblers, County Record 505 (vault) 04D Charlie Poole and the NC Ramblers, County Record 509 (vault) 05* Charlie Poole & the NC Ramblers – Old Time Songs recorded from 1925-1930 (vault) (2 copies) 05A* Charlie Poole and the NC Ramblers – Old Time Songs recorded from 1925-1930, Vol. 2 (vault) 06 Clark Kessinger, Vol.
    [Show full text]
  • Tradition Label Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Tradition Label Discography
    Tradition label Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Tradition Label Discography The Tradition Label was established in New York City in 1956 by Pat Clancy (of the Clancy Brothers) and Diane Hamilton. The label recorded folk and blues music. The label was independent and active from 1956 until about 1961. Kenny Goldstein was the producer for the label during the early years. During 1960 and 1961, Charlie Rothschild took over the business side of the company. Clancy sold the company to Bernard Solomon at Everest Records in 1966. Everest started issuing albums on the label in 1967 and continued until 1974 using recordings from the original Tradition label and Vee Jay/Horizon. Samplers TSP 1 - TraditionFolk Sampler - Various Artists [1957] Birds Courtship - Ed McCurdy/O’Donnell Aboo - Tommy Makem and Clancy Brothers/John Henry - Etta Baker/Hearse Song - Colyn Davies/Rodenos - El Nino De Ronda/Johnny’s Gone to Hilo - Paul Clayton/Dark as a Dungeon - Glenn Yarbrough and Fred Hellerman//Johnny lad - Ewan MacColl/Ha-Na-Ava Ba-Ba-Not - Hillel and Aviva/I Was Born about 10,000 Years Ago - Oscar Brand and Fred Hellerman/Keel Row - Ilsa Cameron/Fairy Boy - Uilleann Pipes, Seamus Ennis/Gambling Suitor - Jean Ritchie and Paul Clayton/Spiritual Trilogy: Oh Freedom, Come and Go with Me, I’m On My Way - Odetta TSP 2 - The Folk Song Tradition - Various Artists [1960] South Australia - A.L. Lloyd And Ewan Maccoll/Lulle Lullay - John Jacob Niles/Whiskey You're The Devil - Liam Clancy And The Clancy Brothers/I Loved A Lass - Ewan MacColl/Carraig Donn - Mary O'Hara/Rosie - Prisoners Of Mississippi State Pen//Sail Away Ladies - Odetta/Ain't No More Cane On This Brazis - Alan Lomax, Collector/Railroad Bill - Mrs.
    [Show full text]
  • B. B. King (1925-2015) Homenatge Al Rei Del Blues Maig 2015
    B. B. King (1925-2015) Homenatge al Rei del Blues Maig 2015 ■ INTRODUCCIÓN Riley B. King o Riley Ben King (Itta Bena, Misisipi, 16 de septiembre de 1925-Las Vegas, Nevada, 14 de mayo de 2015), más conocido como B.B. King, fue un músico, cantante y compositor estadounidense. Es ampliamente considerado uno de los músicos de blues más influyentes de todos los tiempos, ganando el apodo de «el Rey del Blues» y el renombre de «uno de los tres reyes (kings) de la guitarra blues» junto a Albert King y Freddie King. Según Edward M. Komara, King «introdujo un sofisticado estilo de solos basados en fluidas cuerdas [de guitarra] dobladas y brillantes vibratos que influirían prácticamente a todos los guitarristas de blues eléctrico que le siguieron». Los Beatles le mencionaron en la canción «Dig It» (1970). Además, la revista Rolling Stone lo situó en el puesto seis de la lista de los 100 mejores guitarristas de todos los tiempos y figura en el puesto 17 de la lista «Top 50 Guitarists of All Time» elaborada por Gibson. King fue introducido en el Salón de la Fama del Rock and Roll en 1987. Con los años, King desarrolló un estilo de guitarra identificable de su obra musical, con elementos prestados de Blind Lemon Jefferson, T-Bone Walker y otros y la fusión de géneros musicales como el blues, el jazz, el swing y el pop. Su guitarra eléctrica Gibson ES-335, apodada «Lucille», también da nombre a una línea de guitarras creada por la compañía en 1980. King es también reconocido por su prolífico directo, con un promedio de 250 ó 300 conciertos anuales durante la década de 1970.
    [Show full text]
  • Bb King Albums Download B.B
    bb king albums download B.B. King. Our editors will review what you’ve submitted and determine whether to revise the article. B.B. King , byname of Riley B. King , (born September 16, 1925, near Itta Bena, Mississippi, U.S.—died May 14, 2015, Las Vegas, Nevada), American guitarist and singer who was a principal figure in the development of blues and from whose style leading popular musicians drew inspiration. What is B.B. King known for? American guitarist and singer B.B. King was a principal figure in the development of blues. Leading popular musicians drew inspiration from his style, and by the late 1960s rock guitarists were acknowledging his influence and priority; they introduced King and his guitar, Lucille, to a broader white public, who until then had heard blues chiefly in derivative versions. What is B.B. King's real name? B.B. King's real name is Riley B. King. What does the B.B. in B.B. King's name stand for? The B.B. in B.B. King's name stands for "Blues Boy." King acquired the name while working as a disc jockey in Memphis, Tennessee, in the United States. What was B.B. King's first number-one hit? B.B. King's first hit song was "Three O’Clock Blues" in 1951. What song is B.B. King famous for? "The Thrill Is Gone," recorded in 1969, was a major hit for B.B. King. The song earned King his first of the 15 Grammy Awards he received. King was reared in the Mississippi Delta, and gospel music in church was the earliest influence on his singing.
    [Show full text]
  • A Brief History of the National Folk Festival
    A Brief history of the National Folk Festival “We in the United States are amazingly rich in the elements from which to weave a culture. We have the best of man’s past upon which to draw brought to us by our native folk and the folk from all parts of the world. In binding these elements into a national fabric of beauty and strength, let us see to it that the fineness of each shows in the completed handiwork.” Franklin D. Roosevelt, in a letter to Paul Green, President of the National Folk Festival Association, 1938 (Reprinted in the 7th National Folk Festival Program, 1940) The Early years First held in 1934, the National Folk Festival is the oldest multicultural celebration of traditional arts in the country and the event that defined this form of presentation. It employed the first field- worker (vance Randolph), created the talk/demonstration workshop, put the first craft demonstra- tions at festivals, mixed religious and secular presentations, and used scholars as presenters. But its most radical and enduring innovation was that of putting the arts of many nations, races and lan- guages into the same event on an equal footing. The term “folk festival” had been used before the National Folk Festival was created, but it was used for monocultural events. With the National, this term acquired a new and inclusive definition. The festival’s founder was Sarah Gertrude knott, who created the National Folk Festival Associa- tion in 1933. Those who joined her as fieldworkers and presenters in the first festivals were also major figures in the creation of academic and applied folklore: Ben Botkin, Zora Neale Hurston, Constance Roarke, George Pullen Jackson, Arthur Campa, George korson, Richard Dorson, J.
    [Show full text]
  • Ð'ð¸ Ð'ð¸ Кð¸Ð½ð³
    Би Би Кинг ÐÐ​ »Ð±ÑƒÐ¼ ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (Ð ´Ð¸ÑÐ​ ºÐ¾Ð³Ñ€Ð°Ñ„иÑÑ​ ‚а & график) Riding with the King https://bg.listvote.com/lists/music/albums/riding-with-the-king-921317/songs Deuces Wild https://bg.listvote.com/lists/music/albums/deuces-wild-1201643/songs Let the Good Times Roll https://bg.listvote.com/lists/music/albums/let-the-good-times-roll-779791/songs My Kind of Blues https://bg.listvote.com/lists/music/albums/my-kind-of-blues-3497480/songs Blues Summit https://bg.listvote.com/lists/music/albums/blues-summit-886042/songs Midnight Believer https://bg.listvote.com/lists/music/albums/midnight-believer-959384/songs B.B. King & Friends: 80 https://bg.listvote.com/lists/music/albums/b.b.-king-%26-friends%3A-80-3488082/songs King Size https://bg.listvote.com/lists/music/albums/king-size-6412043/songs Blues 'N' Jazz https://bg.listvote.com/lists/music/albums/blues-%27n%27-jazz-27818068/songs There Must Be a Better World https://bg.listvote.com/lists/music/albums/there-must-be-a-better-world-somewhere- Somewhere 7782768/songs Blues on the Bayou https://bg.listvote.com/lists/music/albums/blues-on-the-bayou-4930534/songs Ladies and Gentlemen... Mr. B.B. https://bg.listvote.com/lists/music/albums/ladies-and-gentlemen...-mr.-b.b.-king- King 24962990/songs Makin' Love Is Good for You https://bg.listvote.com/lists/music/albums/makin%27-love-is-good-for-you-4392018/songs L.A.
    [Show full text]
  • ARSC Journal Encourages Recording Companies and Distributors to Send New Releases of Historic Recordings to the Recording Review Editor
    COMPILED BY CHRISTINA MOORE Recordings Received This column lists historic recordings which have been defined as 20 years or older. Historic recordings with one or two recent selections may be included as well. The ARSC Journal encourages recording companies and distributors to send new releases of historic recordings to the Recording Review Editor. Arhoolie Productions, Inc.: Au Bal Antillais. Franco-Creole Biguines from Martinique. Selections by Orchestre Antillais de Alexandre Stellio; Orchestre Creole "Kaukira Boys" de C. Martial; Alphonso et son Orchestre Typique Antillais; Orchestre "Tagada-Biguine" de Alexandre Stellio; Orchestre Creole Delvi; Don Barreto et son Orchestre Cubain; Orchestre Du Bal Antillais; Sam Castandet et son Orchestre Antillais; Orchestre de la Boule Blanche; Orchestre Typique Martiniquais Charlery-Delouche; Orchestre Del's Jazz Biguine; Stellio et son Orchestre Creole. Arhoolie Folklyric CD-7013 (1992). CD, recorded 1929-51. Beto Villa. Father of Orquesta Tejana. Madre Mia; Rosita; En Mi Ranchito; Morir So:iiando; La Mensajera; Blanco y Negro; Las Gaviotas; Rosalia; Rock and Rye Polka; Un Rato No Mas; La Mucura; Yo Tuve un Amor; La Rielera; Consentida; Amor Que Malo Eres; Ya Viene Mi Amor; Rio Grande; Ni Por Favor; El Palco; San Buena Ventura; Ramona; Adi6s Mi Chaparrita; La Chapaneca; Mi Gabriela. Arhoolie CD-364 (1992). CD, recorded 1947-54. Big Maceo. The King of Chicago Blues Piano. Worried Life Blues; Ramblin' Mind Blues; County Jail Blues; Can't You Read; So Long Baby; Texas Blues; Tuff Luck Blues; I Got the Blues; Bye Bye Baby; Poor Kelly Blues; Some Sweet Day; Anytime For You; My Last Go Round; Since You Been Gone; Kidman Blues; I'm So Worried; Things Have Changed; My Own Troubles; Maceo's 32-20; Texas Stomp; Winter Time Blues; Detroit Jump; Won't Be a Fool No More; Big Road Blues; Chicago Breakdown.
    [Show full text]